For the 2013 Biennale, Dan Colen has created a narrative sculpture. The four prostrate figures - Wile E. Coyote, Roger Rabbit, the Kool-Aid Man (who share the gift of being able to walk through walls and leave their outline on them) and the naked artist – are the result of a chase that actually happened in September 2013 at Grigny, near Lyon. The video of this performance, along with the preliminary drawings are on display during the Biennale, while the sculpture stands in front of us. This work is the embodiment of the end – the conclusion – of the episode: a matter perhaps of chase, race for glory, race to succeed. What do these figures stand for, if it is not the very thing that the artist desperately strives for, as we all do?

For the 2013 Biennale, Dan Colen has created a narrative sculpture. The four prostrate figures - Wile E. Coyote, Roger Rabbit, the Kool-Aid Man (who share the gift of being able to walk through walls and leave their outline on them) and the naked artist – are the result of a chase that actually happened in September 2013 at Grigny, near Lyon. The video of this performance, along with the preliminary drawings are on display during the Biennale, while the sculpture stands in front of us. This work is the embodiment of the end – the conclusion – of the episode: a matter perhaps of chase, race for glory, race to succeed. What do these figures stand for, if it is not the very thing that the artist desperately strives for, as we all do?

For the 2013 Biennale, Dan Colen has created a narrative sculpture. The four prostrate figures - Wile E. Coyote, Roger Rabbit, the Kool-Aid Man (who share the gift of being able to walk through walls and leave their outline on them) and the naked artist – are the result of a chase that actually happened in September 2013 at Grigny, near Lyon. The video of this performance, along with the preliminary drawings are on display during the Biennale, while the sculpture stands in front of us. This work is the embodiment of the end – the conclusion – of the episode: a matter perhaps of chase, race for glory, race to succeed. What do these figures stand for, if it is not the very thing that the artist desperately strives for, as we all do?

For the 2013 Biennale, Dan Colen has created a narrative sculpture. The four prostrate figures - Wile E. Coyote, Roger Rabbit, the Kool-Aid Man (who share the gift of being able to walk through walls and leave their outline on them) and the naked artist – are the result of a chase that actually happened in September 2013 at Grigny, near Lyon. The video of this performance, along with the preliminary drawings are on display during the Biennale, while the sculpture stands in front of us. This work is the embodiment of the end – the conclusion – of the episode: a matter perhaps of chase, race for glory, race to succeed. What do these figures stand for, if it is not the very thing that the artist desperately strives for, as we all do?

For the 2013 Biennale, Dan Colen has created a narrative sculpture. The four prostrate figures - Wile E. Coyote, Roger Rabbit, the Kool-Aid Man (who share the gift of being able to walk through walls and leave their outline on them) and the naked artist – are the result of a chase that actually happened in September 2013 at Grigny, near Lyon. The video of this performance, along with the preliminary drawings are on display during the Biennale, while the sculpture stands in front of us. This work is the embodiment of the end – the conclusion – of the episode: a matter perhaps of chase, race for glory, race to succeed. What do these figures stand for, if it is not the very thing that the artist desperately strives for, as we all do?

For the first Biennale de Lyon in 1991, Michel Aubry created Salon de Musique et Salle de Billard, a piece acquired by macLYON. It comprises a snooker table in the middle of a 90m2 floor made up of 50 bakelite tiles showing 50 musical scores of Sardinian songs. What the visitor wonders, has snooker got to do with themusic of Sardinia? The artist invites us to play one or the other, separatelyor together: a game of snooker able to be played as music. In 2013, Veduta makes it happen.

For the first Biennale de Lyon in 1991, Michel Aubry created Salon de Musique et Salle de Billard, a piece acquired by macLYON. It comprises a snooker table in the middle of a 90m2 floor made up of 50 bakelite tiles showing 50 musical scores of Sardinian songs. What the visitor wonders, has snooker got to do with themusic of Sardinia? The artist invites us to play one or the other, separatelyor together: a game of snooker able to be played as music. In 2013, Veduta makes it happen.

For the first Biennale de Lyon in 1991, Michel Aubry created Salon de Musique et Salle de Billard, a piece acquired by macLYON. It comprises a snooker table in the middle of a 90m2 floor made up of 50 bakelite tiles showing 50 musical scores of Sardinian songs. What the visitor wonders, has snooker got to do with themusic of Sardinia? The artist invites us to play one or the other, separatelyor together: a game of snooker able to be played as music. In 2013, Veduta makes it happen.

For the first Biennale de Lyon in 1991, Michel Aubry created Salon de Musique et Salle de Billard, a piece acquired by macLYON. It comprises a snooker table in the middle of a 90m2 floor made up of 50 bakelite tiles showing 50 musical scores of Sardinian songs. What the visitor wonders, has snooker got to do with themusic of Sardinia? The artist invites us to play one or the other, separatelyor together: a game of snooker able to be played as music. In 2013, Veduta makes it happen.

For the first Biennale de Lyon in 1991, Michel Aubry created Salon de Musique et Salle de Billard, a piece acquired by macLYON. It comprises a snooker table in the middle of a 90m2 floor made up of 50 bakelite tiles showing 50 musical scores of Sardinian songs. What the visitor wonders, has snooker got to do with themusic of Sardinia? The artist invites us to play one or the other, separatelyor together: a game of snooker able to be played as music. In 2013, Veduta makes it happen.

In 1989, Claudio Parmiggiani created a very odd piece of art: it was meant to disappear. macLYON accepted the condition and acquired the work. It belongs to France’s heritage, and yet it disappeared; it is now buried in the cloister of the city’s Palais St Pierre. Veduta is conducting an investigation with amateurs from the Lyon district of La Duchère, and finding eye witnesses to this strange story, in order to tell its legend. The investigation’s findings will be on show from 10 October 2013 to 15 January 2014 in the stairwell in La Duchère’s youth and culture centre and at the Musées Gadagne. A group of amateurs in Lyon 9 will interpret the exhibition for visitors and devise its narrative.

Stephen Vitiello’s sound work, conceived at and for the World Trade Center in New York, converses with the large-scale iron architecture of La Rotonde, a former train roundhouse in Grigny. The replaying, in La Rotonde, of the sounds that Vitiello recorded at the top of the WTC towers in September 1999, slips the memory of one piece of architecture into another. Aworld within a world, so we may lend an ear to thecreak of metal structures.

Stephen Vitiello’s sound work, conceived at and for the World Trade Center in New York, converses with the large-scale iron architecture of La Rotonde, a former train roundhouse in Grigny. The replaying, in La Rotonde, of the sounds that Vitiello recorded at the top of the WTC towers in September 1999, slips the memory of one piece of architecture into another. Aworld within a world, so we may lend an ear to thecreak of metal structures.

Stephen Vitiello’s sound work, conceived at and for the World Trade Center in New York, converses with the large-scale iron architecture of La Rotonde, a former train roundhouse in Grigny. The replaying, in La Rotonde, of the sounds that Vitiello recorded at the top of the WTC towers in September 1999, slips the memory of one piece of architecture into another. Aworld within a world, so we may lend an ear to thecreak of metal structures.

Stephen Vitiello’s sound work, conceived at and for the World Trade Center in New York, converses with the large-scale iron architecture of La Rotonde, a former train roundhouse in Grigny. The replaying, in La Rotonde, of the sounds that Vitiello recorded at the top of the WTC towers in September 1999, slips the memory of one piece of architecture into another. Aworld within a world, so we may lend an ear to thecreak of metal structures.

Veduta has tasked Bruit du Frigo, a collective of artists and architects, with interpreting Le Poïpoïdrome, devised by Robert Filliou and Joachim Pfeufer in 1963. What can a space intended for permanent art making look like in 2013? Tapping Filliou’s spirit, the collective is proposing a Poïpoïgrotte – after all, art began in agrotte (cave) tens of thousands of years ago. La Poïpoïgrotte, like Le Poïpoïdrome, is for thegeneral public. To take part in the actions and thinking at La Poïpoïgrotte, there is nothing to learn. “What the users know is enough.” (Robert Filliou)

Veduta has tasked Bruit du Frigo, a collective of artists and architects, with interpreting Le Poïpoïdrome, devised by Robert Filliou and Joachim Pfeufer in 1963. What can a space intended for permanent art making look like in 2013? Tapping Filliou’s spirit, the collective is proposing a Poïpoïgrotte – after all, art began in agrotte (cave) tens of thousands of years ago. La Poïpoïgrotte, like Le Poïpoïdrome, is for thegeneral public. To take part in the actions and thinking at La Poïpoïgrotte, there is nothing to learn. “What the users know is enough.” (Robert Filliou)

Veduta has tasked Bruit du Frigo, a collective of artists and architects, with interpreting Le Poïpoïdrome, devised by Robert Filliou and Joachim Pfeufer in 1963. What can a space intended for permanent art making look like in 2013? Tapping Filliou’s spirit, the collective is proposing a Poïpoïgrotte – after all, art began in agrotte (cave) tens of thousands of years ago. La Poïpoïgrotte, like Le Poïpoïdrome, is for thegeneral public. To take part in the actions and thinking at La Poïpoïgrotte, there is nothing to learn. “What the users know is enough.” (Robert Filliou)

Veduta has tasked Bruit du Frigo, a collective of artists and architects, with interpreting Le Poïpoïdrome, devised by Robert Filliou and Joachim Pfeufer in 1963. What can a space intended for permanent art making look like in 2013? Tapping Filliou’s spirit, the collective is proposing a Poïpoïgrotte – after all, art began in agrotte (cave) tens of thousands of years ago. La Poïpoïgrotte, like Le Poïpoïdrome, is for thegeneral public. To take part in the actions and thinking at La Poïpoïgrotte, there is nothing to learn. “What the users know is enough.” (Robert Filliou)

Veduta has tasked Bruit du Frigo, a collective of artists and architects, with interpreting Le Poïpoïdrome, devised by Robert Filliou and Joachim Pfeufer in 1963. What can a space intended for permanent art making look like in 2013? Tapping Filliou’s spirit, the collective is proposing a Poïpoïgrotte – after all, art began in agrotte (cave) tens of thousands of years ago. La Poïpoïgrotte, like Le Poïpoïdrome, is for thegeneral public. To take part in the actions and thinking at La Poïpoïgrotte, there is nothing to learn. “What the users know is enough.” (Robert Filliou)